Classic and Contemporary Poetry: Explained

Edward Field’s poem “Lost, Dancing,” written "after Cavafy," draws inspiration from the work of Constantine P. Cavafy and references the historical figure of Mark Antony, creating a poignant reflection on fate, acceptance, and loss. Through vivid imagery and a haunting, rhythmic tone, Field conveys the inevitability of destiny and the grace with which one can embrace it.

The poem begins with a simple directive: “When the drums come to your door / do not try to shut them out, / do not turn away and resist them.” This advice frames the drums as symbols of fate, heralding a message that is both unavoidable and essential. The narrator urges the reader not to resist the call but to listen, as “they have come to tell you what you need to hear.”

Field anchors the poem in the story of Mark Antony, who “knew then that he had lost Egypt forever” when he heard the drums. The historical allusion evokes the fall of Alexandria and the defeat of Antony and Cleopatra by Octavian (later Emperor Augustus). However, Antony’s reaction is one of composure: “He did not shriek or tear his clothes / for he always knew they would come someday.” Antony’s acceptance of fate exemplifies a graceful resignation to the inevitable.

The poem’s tone is both melancholic and reflective as Field delves into the nature of fate and its inescapable pull: “What the drums speak to you / is so inevitable you have to agree with them— / nothing else could be right.” Here, Field underscores the futility of resisting fate while acknowledging the wisdom in accepting what cannot be changed. The inevitability of loss is framed as a shared human experience that cannot be avoided.

The final stanza shifts to a broader application of Antony’s story, urging readers to embrace the drums when they come to their own door: “So when the drummers and dancers come to your door / your life changes.” Rather than resist, the narrator encourages acceptance, “with no bitterness / but with a sad smile.” The lines “after all, what you had you had, / you loved the way few men love” provide comfort by acknowledging the value of past joys.

The poem reaches its emotional climax when the narrator invites the reader to “join the army of the lost, dancing,” embracing the inevitable changes with dignity and grace. The imagery of “turn[ing] and wav[ing] good-bye / to the Alexandria you are losing” is both haunting and evocative, emphasizing the finality of departure yet maintaining a sense of peace and acceptance.

The final line, “Carnival, Rio de Janeiro, 1974,” adds another layer of meaning by connecting Antony’s story to the contemporary celebration of Carnival. Carnival, with its vibrant parades and dancing, becomes a metaphor for the acceptance of fate and the joy that can be found even in the face of loss. It suggests that life continues with rhythm and vitality, even after significant change.

Structurally, the poem is written in free verse, mirroring the fluidity of fate and providing a natural rhythm that echoes the drums. The lack of rigid structure allows Field to shift between the historical and the personal seamlessly, creating an intimate yet universal reflection on destiny.

In summary, “Lost, Dancing” is a poignant meditation on fate and acceptance. Edward Field draws on Cavafy’s influence and the historical figure of Mark Antony to convey the inevitability of change and the grace that comes with embracing it. The poem’s rhythmic imagery and haunting tone serve as a reminder that, despite the loss, there is joy in joining the “army of the lost” and dancing to the drums of fate.

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